Tale of cinema

Prompt Thinking explores how artificial intelligence is fundamentally transforming the nature of thought. In the age of generative AI, prompting becomes more than a technical instruction: it emerges as a philosophical practice.

This book arises from an experiment with AI in which the fictional philosopher Jianwei Xun sparked global debate by publishing a book about power and perception in the digital age. That book, Hypnocracy: Trump, Musk, and the New Architecture of Reality, was written with the assistance of AI. Rather than casting AI as either savior or threat, Prompt Thinking proposes a third way: conscious dialogue with artificial intelligence as a means to expand critical awareness. The book shows how critical philosophical engagement with AI can produce unexpected insights while preserving intellectual autonomy.

Part theoretical framework, part methodological provocation, Prompt Thinking offers tools for navigating cognitive transformation. It proposes an ethics of the threshold, neither rejecting technological change nor surrendering to it.

Mise en scène, écriture – pièces de théâtre, poésie, récits, journaux – et présence sur scène : tout est lié chez Angélica Liddell. L’art et la vie, la fiction et la biographie, la création poétique et la réflexion théorique entretiennent les uns avec les autres des liens évidents et complexes. Ce volume inclut une série de textes qui, depuis une perspective théorique, éclairent en partie la pratique théâtrale de leur auteur, contribuant à la construction d’une poétique toujours inachevée, basée sur une expérience vitale.

Dans cet essai recueillant douze conférences et entretiens, Angélica Liddell évoque la création artistique ainsi que son processus dramaturgique très organique et très violent car « la violence poétique est nécessaire pour combattre la violence réelle ». 

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Direction, writing—plays, poetry, stories, journals—and stage presence: everything is interconnected in Angélica Liddell’s work. Art and life, fiction and biography, poetic creation and theoretical reflection maintain obvious yet complex connections with one another. This volume includes a series of texts that, from a theoretical perspective, shed light on the author’s theatrical practice, contributing to the construction of an ever-unfinished poetics rooted in lived experience. 

In this essay, which brings together twelve lectures and interviews, Angélica Liddell discusses artistic creation as well as her highly organic and violent dramaturgical process, for “poetic violence is necessary to combat real violence.” 

‘May my story be beautiful and unwind like a long thread . . .’, she recites as she begins her story. 

The storyteller is the living memory of her time: at once an oracle, weaver, healer, warrior, witch, protectress, teacher and great mother. Her powers are to do with passing on – not only the stories but transmission itself: ‘what grandma began, granddaughter completes and passes on to be further completed.’

In contrast to the idea that a story is ‘just a story’, pioneering postcolonial feminist theorist and filmmaker Trinh T. Minh-ha recodes ideas about truth and fantasy to tell a different story about power, civilisation, history, medicine and magic. Grandma’s Story shows how creative speech is connected to women’s powers of enchantment, drawing upon and speaking with storytellers including Theresa Hak Kyung Cha, Clarice Lispector, Maxine Hong Kingston, Leslie Marmon Silko and Zora Neale Hurston – all who may be known as ‘she who breaks open the spell’. 

The story as a cure and a protection is at once musical, historical, poetical, ethical, educational, magical, and religious.

Strange Biology, Charlotte Strange’s first chapbook, opens with a social media advertisement marketing a probiotic as an alternative to the “nuclear bomb” of antibacterial acne medication. As Strange investigates the treatment of the human body as a landscape submissive to medical intervention, they ruminate on the contemporary relationship between microbes, gut-directed medical technologies, and capitalism’s encroachment on life. Drawing on the vernacular of social media marketing, they deftly oscillate between instructive and personal registers, stretching the private across a nexus of microbial interminglings. Strange Biology reflects on the semiotic science of the gut: how the language of medicine defines the mutating edges of the human body. 

Who decides what happens after sex? The last decade has seen many significant changes to the laws governing women’s reproductive rights around the world, from liberalisation in Ireland to new restrictions in the USA. After Sex offers personal and political perspectives from the mid-20th century to the present day, setting feminist classics alongside contemporary accounts. These essays, short stories and poems trace the debates and tell the stories; together, they ask us to consider what reproductive justice might look like, and how it could reshape sex.

The writers pay special attention to people — both fictional and real — who have sought control over their sexual lives, and the joy, comedy, difficulties and disappointments that entails. But above all, After Sex testifies to the power of great writing to show us why that freedom is worth pursuing — without shame and without apology.

With contributions from: 
Lauren Berlant, Joanna Biggs, Edna Bonhomme, Gwendolyn Brooks, Beverley Bryan, Stella Dadzie and Suzanne Scafe, Storm Cecile, Lucille Clifton, Rachel Connolly, T.L. Cowan, ’Jane Does’, Maggie Doherty, Nell Dunn, Andrea Dworkin, Anne Enright, Deborah Friedell, Tracy Fuad, Kristen Ghodsee, Vivian Gornick, Donna Haraway, bell hooks, Barbara Johnson, Jayne Kavanagh, Lisa Hallgarten and Angela Poulter, Jamaica Kincaid, Patricia Knight, R.O. Kwon, Ursula K. Le Guin, Natasha Lennard, Sophie Lewis, Audre Lorde, Amelia Loulli, Erin Maglaque, Holly Pester, Adrienne Rich, Denise Riley, Sally Rooney, Loretta J. Ross, Madeleine Schwartz, SisterSong, Sophie Smith, Annabel Sowemimo, Amia Srinivasan, Keeanga-Yamahtta Taylor, Judith Jarvis Thomson, Alice Walker and Bernard Williams.